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Dissertations / Theses on the topic 'Ernest Hemingway 1899-1961'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kelley, Andrew 1943. "An Adlerian perspective of Ernest Hemingway." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276808.

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The purpose of this study was to determine whether the application of Adlerian life style techniques would provide greater understanding of the psychological factors which shaped the life of Ernest Hemingway. Hemingway's birth order position, the dynamics and atmosphere of his family, and the early recollections of his childhood were studied and analyzed for a consistent theme or belief system. Biographies, critical evaluations of his work and selected published writing were utilized to provide a basis for a life style projection. This projection was then found to correlate with observable inc

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2

McKendy, Andrew. "The dead Hemingways : a rationale of the writer in decline." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24094.

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Primarily, the thesis will reconsider the "minority report" position regarding Hemingway, and attempt to rationalize attendant charges that Hemingway's later fiction betrayed elements of self-parody (Across the River and Into the Trees. 1950), self-imitation (The Old Man and the Sea, 1952), and self-indulgence (A Moveable Feast, 1964). The minority report holds that the later writer had come to identify with the image of his public persona, and that subsequent attempts at fiction were as a result overcharacterized by self-congratulation, wish-fulfillment, and a crucial loss of ironic or otherw

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3

Talebizadeh, Jamileh. "Une Blessure posthume : The Garden of Eden : le manuscrit d'Ernest Hemingway /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://catalogue.bnf.fr/ark:/12148/cb37702156x.

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4

KEBBOUCHE, DONAYAN ANISSA. "Le sentiment de l'absurde chez ernest hemingway." Paris 4, 1986. http://www.theses.fr/1986PA040310.

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Dans ses premieres oeuvres et notamment dans les torrents du printemps hemingway tentait d'exprimer la desintegration absurde du monde par un langage desarticule ou par des silences. A l'age de la maturite il s'oriente plutot vers un symbolisme, une sublimation du mystere dans un sens chretien. L'homme peut exorciser l'absurdite ou la vacuite de l'existence en acceptant l'effort meme si celui-ci demeure vain. Il rejoint camus et le mythe de sisyphe car il ne se contente pas de diagnostiquer le mal : il condamne aussi les faux remedes. L'effort continu du vieil homme prend les proportions d'une

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5

Abouddahab, Redouane. "La mort à l'oeuvre dans les nouvelles de Ernest Hemingway : une poétique de la cruauté." Lyon 2, 1992. http://www.theses.fr/1992LYO20047.

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La visée de cette étude est la réhabilitation de Hemingway, écrivain dont le nom est très connu mais dont l'oeuvre est méconnue. Les critiques analysent généralement ses écrits du point de vue du référent et de la représentation, alors qu'une lecture attentive de ses nouvelles (1923-1938) révèle la présence de l'hétérogénéité dans le texte comme procès de poétisation, le mouvement du réel (wilderness) au coeur du familier (home) et la tentative d'édifier un barrage symbolique contre la jouissance terrifiante de l'autre et de sacraliser le désir par son inscription dans le champ énigmatique de

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6

Talebizadeh, Jamileh. "Une blessure posthume : the garden of eden, le manuscrit d'ernest hemingway." Paris 7, 1996. http://www.theses.fr/1996PA070027.

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Ce travail, fonde sur les manuscrits du roman d'hemingway, the garden of eden, cherche a la fois a rendre compte du texte original, qui differe considerablement de l'ouvrage publie a titre posthume, et a offrir une approche psychanalyti que de ses preoccupations. La premiere partie examine le travail de l'editeur du roman qui a effectue des coupures drastiques dans le texte d'hemingway et qui, ce faisant, a ote ou obscurci une serie de questions importantes : les references a proust, le theme biblique du paradis et de la chute; la fascination pour l'oeuvre de jerome bosch et l' interet qui en

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7

Hardy, Donald E. (Donald Edward). "Politeness as a Conversational Strategy in Three Hemingway Short Stories." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503982/.

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Hemingway's dialogue and the texts of politeness and literature -- Brown and Levinson's politeness strategies -- The face of honesty in "The Doctor and the Doctor's Wife -- The face of bravery in "The Short Happy Life of Francis Macomber" -- The face of love in "Hills Like White Elephants" -- Interpretive implications of politeness theory.

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8

Salmon, H. L. "Martha Gellhorn and Ernest Hemingway: A Literary Relationship." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4183/.

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Martha Gellhorn and Ernest Hemingway met in Key West in 1937, married in 1941, and divorced in 1945. Gellhorn's work exhibits a strong influence from Hemingway's work, including collaboration on her work during their marriage. I will discuss three of her six novels: WMP (1934), Liana (1944), and Point of No Return (1948). The areas of influence that I will rely on in many ways follow the stages Harold Bloom outlines in Anxiety of Influence. Gellhorn's work exposes a stage of influence that Bloom does not describe-which I term collaborative. By looking at Hemingway's influence in Gellhorn's wri

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9

Bourkadi, Khaldi Mohammed. "Ernest Hemingway : la violence et la mort." Montpellier 3, 1996. http://www.theses.fr/1996MON30065.

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La violence et la mort sont deux thèmes pilotes qui animent la pensée hemingwayenneet stimulent, par leur intensité et leur gravité, l'orientation de l'écriture littéraire chez Hemingway. Cependant, l'omniprésence de ces deux thèmes dans le récit laisse apparaître d'autres pôles d'intêrets qui, à prime abord, sembleraient paradoxaux : l'exaltation de la vie, de l'amour et des sports violents et moins violents, et la participation à des guerres dites "justes". Exister pleinement chez Hemingway dépendra désormais d'une fusion totale de toutes les forces qui donnent la vie, qui mènent à la mort e

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10

Mallier, Clara. "L'écriture de la vie : représentation de la conscience et implication du lecteur dans les romans à la première personne d'Ernest Hemingway." Paris 3, 2005. http://www.theses.fr/2005PA030029.

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Cette thèse associe étude stylistique, approche narratologique et critique de la réception pour analyser la représentation de la conscience dans les romans à la première personne d'Ernest Hemingway. Il en ressort que la conscience du personnage est représentée par son versant perceptif, le vécu psychologique étant passé sous silence : grâce à une représentation rigoureuse de l'expérience du temps et de l'espace, cette conscience est livrée au lecteur comme une forme dont le contenu psychique reste indéterminé. Le texte programme ainsi l'implication du lecteur et permet que celui-ci donne vie à

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11

Handaj, Abdellah. "Le héros tragique dans les oeuvres majeures d'Ernest Hemingway." Nancy 2, 1999. http://www.theses.fr/1999NAN21019.

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Ce travail consiste en une étude du héros tragique à travers les oeuvres majeures de Hemingway : The Sun also Rises (1926), A Farewell to Arms (1929), To Have and Have Not (1937), For Whom the Bell Tolls (1940), Across the River and into the Trees (1950), et The Old Man and the Sea (1952). Dans une approche générale de la vision tragique, nous étudierons en particulier le rôle de la mort dans son oeuvre romanesque, car ses personnages sont souvent hantés par ce thème. La place de l'amour qui apparaît dans tous ses romans, comme aspect de la vision tragique ou comme remède, les blessures physiq

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12

Feldman, Andrew. "L'art de l'intrigue dans les récits de L'Etranger d'Albert Camus et The Old Man and the Sea d'Ernest Hemingway : création et abîme." Paris 4, 2005. http://www.theses.fr/2004PA040243.

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Constatant que les forces de l'intrigue animent et galvanisent toute œuvre littéraire, nous avons observé leur progression dans deux histoires marquantes du vingtième siècle : The Old Man and the Sea et L'Etranger. Hemingway et Camus utilisent l'intrigue pour affronter l'abîme de l'existence humaine, se mesurant à la mort à l'aide de personnages qui se heurtent à d'insurmontables forces, mais transcendent leur destin par un héroïsme exceptionnel. Chaque artiste écrit l'intrigue de sa propre vie, dans une lutte constante contre le désordre et la noirceur qu'il rencontre. Chacun illumine l'obscu

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13

Magno, Ana Beatriz. "O jornalismo nos tempos da reportagem : uma análise da obra jornalística de Ernest Hemingway & Gabriel García Márquez." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17279.

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Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2014.<br>Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2014-12-05T12:19:10Z No. of bitstreams: 1 2014_AnaBeatrizMagno.pdf: 22343905 bytes, checksum: f6b013db5fad917d36dd33382239f65a (MD5)<br>Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-12-08T17:35:11Z (GMT) No. of bitstreams: 1 2014_AnaBeatrizMagno.pdf: 22343905 bytes, checksum: f6b013db5fad917d36dd33382239f65a (MD5)<br>Made available in DSpace on 2014-12-08T17:35:11Z

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14

Mayo, Kim Martin. "Joyce's Dubliners and Hemingway's In Our Time: A Correlation." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500421/.

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One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found i

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15

Moran, Omar Agustin. "The representations of masculinities in 1920s American literature: Ernest Hemingway and Willa Cather." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2029.

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16

Calderòn, Tatiana Tamara. "Le principe de l'iceberg : écriture et allusion (Francisco Coloane, Ernest Hemingway, Jean-Marie Gustave Le Clézio)." Paris 13, 2007. http://www.theses.fr/2007PA131021.

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Emprunt partiel et indirect, figure de l’implicite, l’allusion témoigne d’un texte en coprésence et instaure un jeu énigmatique avec le lecteur. Montagne de glace errante, matière compacte et image-concept, l’iceberg peut être envisagé comme un véritable principe d’écriture théorisé par Ernest Hemingway (1899-1961) (the iceberg theory), progressivement mis en œuvre par Jean-Marie Gustave Le Clézio (1940) et employé par Francisco Coloane (1910-2002). L’écriture régie par le principe de l’iceberg est marquée par la présence d’allusions potentielles que le lecteur doit détecter pour dénouer la te

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17

Montie, Jacob Michael. "Couples Therapy: Gender and Sexuality in The Sun Also Rises." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/175.

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"Isn't it pretty to think so?" The ambiguity of this question, posed by Jake Barnes in the last line of The Sun Also Rises, is a reflection of the novel's evolving definition of what constitutes a relationship. As the focus of Hemingway criticism has slowly broken from tired discussions of misogyny a space has opened for considering the complex ways his writings address questions of gendered identity. Through this lens critics have asked exactly what kind of man and women Jake Barnes and Lady Brett Ashley represent. For decades critics and scholars have viewed this final line as having a negat

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18

Wuibout, Jocelyne. "La dynamique de la loi et du désir dans les romans de François Mauriac et d'Ernest Hemingway." Reims, 1999. http://www.theses.fr/1999REIML009.

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A l'issue de la première guerre mondiale, la crise socio-politique qui touche les pays occidentaux inspire la remise en question des valeurs tenues pour sures jusque-là. Mauriac et Hemingway se distinguent toutefois de la tendance littéraire de l'époque, car la tragédie de la guerre, le traumatisme de la blessure et de la rupture avec les structures familiales signifiantes sont pour tous deux générateurs d'angoisse et a l'origine de la quête spirituelle qui les préoccupe. Ils ont alors recours a l'écriture pour dire le refoulement lie au traumatisme qui se manifeste comme une tache urgente a a

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19

Hall, Robert L. (Robert Lee) 1956. "Natural Innocence in "Adventures of Huckleberry Finn", the Nick Adams Stories, and "The Old Man and the Sea"." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500586/.

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Hemingway claims in Green Hills of Africa that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." If this basic idea is applied to his own work, elements of Adventures of Huckleberry Finn appear in some of Hemingway's Nick Adams stories and his novel The Old Man and the Sea. All major characters and several minor characters in these works share the quality of natural innocence, composed of their primitivism, sensibility, and active morality. Hemingway's Nick, Santiago, and Manolin, and Twain's Huck Finn and Jim reflect their authors' similar backgrounds

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20

Guay-Weston, Jennifer Ann. "An American Eve : the construction of a modern revisionist heroine in Kate Chopin's "The awakening", Ernest Hemingway's "The sun also rises" and F. Scott Fitzgerald's "The great Gatsby"." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25518.

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Cette recherche a pour but d’identifier une personnalité féminine révisionniste dans le modernisme littéraire américain. Cette personnalité révisionniste a pour nom «American Eve» et défie le «American Adam» qui est un personnage mythique patriarcal de R.W.B. Lewis provenant du dix-neuvième siècle. Cette conceptualisation est accomplie à l’aide d’une analyse socio-critique et comparative des trois protagonistes féminins dans les romans modernes The Awakening (1899) de Kate Chopin, The Sun Also Rises (1926) d’Ernest Hemingway, et The Great Gatsby (1925) de F. Scott Fitzgerald. Ma construction d

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21

Binks, Gwendolyn Dale. "Taking another look at women and gender in Hemingway's works." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1969.

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This project supports the contrary argument that Hemingway provided a voice for the post-Victorian woman, a woman exercising her strength within relationships, her sexuality, her femininity, and her freedom from oppression during the twentieth century women's movement.

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22

Taha, Adel. "La sociologie du roman, et l'evolution romanesque chez albert camus. Etude et critique litteraire de l'oeuvre." Caen, 1992. http://www.theses.fr/1992CAEN1109.

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Etude de l'eclosion de la pensee camusienne et de l'evolution romanesque des themes : l'absurde et la revolte. Cette recherche tend a prouver que le sentiment de l'absurde est une consequence de l'experience de camus ; alors que la revolte est une solution et un choix. Ce travail se compose de quatre parties : a) l'experience de l'absurde : cette partie traite le sentiment de l'absurde, la condition humaine et la prise de conscience chez camus dans l'envers et l'endroit. B) la nature de l'absurde dans l'etranger : cette deuxieme partie etudie et envisage l'expression romanesque de l'absurde, a

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23

Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.

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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alte

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24

Bergheaud, Lise. "Raymond Queneau, une formation au modernisme et à la modernité : 1917-1938, lectures fondatrices du récit anglo-saxon des XIXe-XXe siècles." Paris 3, 2008. http://www.theses.fr/2008PA030075.

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Le présent travail se donne pour objectif d’éclairer les liens entre l’œuvre narrative de Raymond QUENEAU et les récits anglo-saxons qu’il a lus et recensés de 1917 à 1938. Dans un premier temps, un classement raisonné à partir des listes de lectures queniennes nous a permis de délimiter une assemblée de dix auteurs, précurseurs ou emblèmes de la modernité en littérature, dont les écrits entrent en résonance précoce et prolongée avec les textes queniens (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Er

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25

Moss, Margaret Loughery. "Prelude to Fame: Trauma Theory in the Early Short Fiction of Ernest Hemingway." Thesis, 2012. http://hdl.handle.net/1805/2768.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>While it is commonly acknowledged that the primal traumatic events of Hemingway’s time as an ambulance driver in Italy during World War I had a profound influence on his works of fiction, there has been relatively little exploration of the notion that the “working through” which occurred in the recovery from his own personal trauma manifests a complex and interwoven relationship with the writing process. This is certainly not unknown territory for scholars; when Hemingway first embarked upon the earliest fiction writing of his profe

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26

Caetano, Maria Alexandra de Barros 1967. "Gestos fundadores: uma literatura de Ernest Hemingway : the old man and the sea." Doctoral thesis, 2010. http://hdl.handle.net/10451/3570.

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Tese de doutoramento, Estudos Literários (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2011<br>Esta tese propõe uma leitura da novela de Ernest Hemingway, The Old Man and the Sea (1952). Tendo como objecto de análise a história de um velho que luta para resgatar do oceano o seu mais sublime peixe, a fim de vingar a escassez de oitenta e quatro dias sem captura, estabelece-se uma analogia entre a aprendizagem da pesca e a interpretação literária. A partir desta correlação, sugere-se que a novela reconfigura, sob uma expressão conceptual e idiomática própria, a noção

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27

Travers, Jessica D. "Caution �� ideological mechanisms at work : interpellation and the melancholic turn in Jack Kerouac's On the Road and Ernest Hemingway's The Garden of Eden." Thesis, 2012. http://hdl.handle.net/1957/35610.

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In this thesis I examine the ideological mechanisms that work to constitute, construct, and maintain subject identity. Such mechanisms include repetition, performativity, identification, and interpellation. I incorporate structuralist, post-structuralist, and psychoanalytic theories as a means to discuss the ways in which gender, sexuality, and identity are performative masquerades. Furthermore, these ideological mechanisms and heteronormative paradigms have the paradoxical power to produce both incurable melancholia and unrealized possibilities alike. Given this conversation, I turn to theori

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28

Chung, Christopher Damien 1979. ""Almost unnamable" : suicide in the modernist novel." 2008. http://hdl.handle.net/2152/17953.

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Since Presocratic Greece, suicide in the West has been “known” and controlled, both politically and discursively. Groups as diverse as theologians and literary critics have propagated many different views of self-killing, but, determining its cause and moralizing about it, they have commonly exerted interpretive power over suicide, making it nameable, explicable, and predominantly reprehensible. The four modernist authors that I consider in this dissertation -- Ernest Hemingway, Joseph Conrad, Virginia Woolf, and William Faulkner -- break completely with the tradition of knowing suicide by ins

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